CHAPTER 5-SCHERZO: ALLEGRO

Brahms’ decision to begin the Horn Trio with a slow movement effected a departure from the traditional placement of the middle movements of a four movement work. Clearly, it would be problematic for Brahms to have followed the first movement with another slow movement. Instead, Brahms moved the scherzo from its usual position as the third movement to the second movement, and made the third movement the slow movement. The tempi of the movements are thus slow-fast-slow-fast: a structure reminiscent of the sonata da chiesa.

Let us begin our study of the scherzo with a rather technical look at the structures of the music. We will then discuss the movement in less formal, more musical terms.

Table 2 shows the important thematic, formal and harmonic characteristics of the second movement. The largest scale form of the movement is an A-B-A form, scherzo-trio-scherzo. Each of these sections is itself made up of another A-B-A form. While the trio’s A-B-A is unremarkable, that of the scherzo deserves special attention.

. Form of Second Movement;

A-B-A is a common form for a scherzo, but Brahms here creates a sonata-scherzo. The first movement of the trio, remember, was Brahms’ only instrumental first movement not in sonata form. Sonata form was not, however, completely abandoned. It shows up here in the second movement, where Brahms has laid a sonata form over the A-B-A of the scherzo, and it will return again in the finale.

The presence of sonata form here is not completely explicit and obvious. Rather, it lies under the surface. A listener is more likely to hear the form as A-B-A, if only because (s)he will certainly not be expecting sonata form. The implied sonata form is, however, precisely what makes this scherzo formally so interesting. We will, therefore, examine the movement using the terms of sonata form in order better to understand the underlying structure.

In Table 2 we can see how many common sonata form characteristics are present in the scherzo. Let us take a quick tour of these features. The exposition begins with the first theme group in the tonic. In measure 41 there begins a bridge to the dominant and the contrasting, lyrical second theme (m. 49). This is followed by a closing theme (m. 61) that moves us, at the end, back to the tonic (m. 77). The exposition ends after measure 80, where we can imagine a repeat sign would be if this were a first movement sonata form.

The development begins in measure 81 with first theme material that modulates to distant keys. In the "measure" heading of table 2, one can see that measure 81 develops music heard earlier in measure 17, measure 89 develops music from measure 25, and so forth. There occurs a brief false recapitulation in the wrong key (m. 97, which is music from m. 9), after which there follow developments of various thematic materials. These developments use common techniques, such as fragmentation (mm. 101-120) and augmentation (mm. 121-153), over sequences that fall through the circle of fifths. At the end of the development the music modulates back towards the tonic for the recapitulation.

The recapitulation (m. 163) presents the themes from the exposition in order, with the second theme occurring this time in the tonic, as is customary (m. 199). Again, the "measure" heading of table 2 shows how the music of measures 9, 13, 17, and so forth, are restated in the recapitulation. After a slight, final departure and development (mm. 207-250), which is not uncommon in sonata form, the closing theme is extended for a final cadence.

Now that we have seen the large scale features of sonata form, let us take a more detailed look at the themes, and then examine the music in less formal terms. The first theme group (mm. 1-48) contains three important thematic ideas. The first is labeled theme 1, and this is the music that opens the movement. In measure 13, theme 1 is interrupted by what I have labeled theme A. Theme A is notable for how it contrasts with theme 1. It begins in G (III), and is in duples instead of the triples of theme 1. Its appearance in G is noteworthy: the key areas of the exposition spell out the Eb triad, as did the key areas of the first movement.

It is important to notice that theme A’s interruption occurs immediately after the piano begins to head into minor territory that features half steps. In measures 9-12, the piano suggests g minor, and plays a series of semitones (d-eb, a-bb). These semitones and the minor mode are reminders of the dark half steps from the first movement. It seems that the violin and horn will not tolerate the semitones, stopping the momentum of the quarter notes in an attempt to banish them.

This interruption is brief. Theme 1 resumes in a slightly altered form in measure 17. Here it is played in parallel thirds, and takes a detour to what I have labeled theme B. Theme B (m. 25) is a variation of the music of measures 9-12. As with measures 9-12, half steps and the minor mode appear here, but much more strongly. The half steps that were previously somewhat nested are here made explicit, and the minor mode is confirmed. Each time theme B returns, including in the development (mm. 89-96 and 137-162), it reminds us of the dark half steps that are lurking in the background, and that they will not go away without a fight.

After theme B moves to bb, it is followed by the bridge (m. 41), which brings us to the major dominant for the second theme. The bridge closes with what I have called theme y (mm. 47-48), a falling arpeggio that returns throughout the movement as closing and transitory material.

The second theme (m. 49) is composed of music we have heard before. It is a combination of a version of theme A in the violin over theme 1 in the piano. Both themes occur here on scale degree 5, instead of 1, and this changes the harmonic context. The character of the music, however, is really what defines it as a new theme group - the excitement of themes 1 and A have been transformed into a legato lyricism. The technique of using first theme group material for the second theme group of a sonata form is hardly new. Haydn - for example, used it quite frequently.

The jaunty closing material (m. 61) is, to my mind, a bit reminiscent of a beer-hall song. It is helpful to be aware of its formal role as closing material, and really drive to the cadence in measure 77. In that way, one can help the listeners feel the overlaid sonata form, and not hear the closing music as only a new theme in, say, a rondo-type form. It is valuable for the performers to try playing the movement with an inserted repeat at the end of measure 80, in order better to feel the implied sonata form.

Furthermore, if the performers are aware of the sonata form, they will play the beginning of the development (m. 81) differently than they otherwise would have. The piano dynamic will suddenly be much more important, and the hairpins over the modulations will be more meaningful. The performers will feel this music as exploration, not transition, and feel that the point of arrival must be found and is not prescribed. This is a subtle difference, perhaps, but an important one.

This exploration opens with minor third modulations, which were extremely important in the first movement. We move from Eb through F# to A (mm. 89-97). Thematically, the music of theme B becomes the music of theme x (the music of mm. 9-12), and this leads us back to theme A in c# minor (m. 101), a false recapitulation. Theme A becomes the source of development through fragmentation, over a falling circle of fifths. I call this theme A, and not theme 2, because the music begins on scale degree 1 instead of 5, and because of the music’s somewhat driven character. Notice that each fall through the circle of fifths begins on D#, a respelling of the tonic Eb. What is more important, however, is that each section (measures 109, 113, and 118) begins in F#. As we learned in section B’ of the first movement, F# (Gb) is bVI of the dominant. bVI, remember, is an important background manifestation of the dark half steps around scale degree 5 that originated in theme b of the first movement.

The falls through the circle of fifths finally arrive in measure 121 at the key of B, which is the most distant important key area we have heard in the piece thus far. This key appeared momentarily in measure 224 of the first movement, right after the use of Gb as bVI of the dominant. The key of B is bVI of the tonic. In this development, then, we reach out to bVI of both the tonic and dominant, just as we did in section B’ of the first movement. Also related to the dark half steps from the first movement was the use of #IV (A) - the half step below scale degree 5 - which initiated theme x and the false recapitulation in measure 97. These will all be important key areas and relationships to follow throughout the piece.

The development of themes 1 and B that begins in measure 121 is achieved through an interesting kind of augmentation. Each measure of each theme is extended by holding the last note for an extra three beats. The effect, which can be highlighted by aware performers, is at first quite playful, particularly with the rapid arpeggios in the piano. When the development of theme B starts in measure 137, its half steps are also at first quite jovial. Beginning in measure 153, however, the music turns quite dark as the recapitulation approaches, the minor mode enters, and the same eb-d half step gets repeated over and over.

This darkness is coincidental with a unique metric event. The entire movement is constructed of four measure groups, with the sole exception of measures 153-158. Here there is a six measure group, which serves to build intensity to the recapitulation. The performers must be aware of and communicate this large scale triple (three groups of two measures), while respecting that the crescendo does not begin until measure 159.

When the recapitulation begins with theme x in measure 163, it is with a special twist. Theme x is now heard in c minor, and not in Eb as it was in the exposition, due to the use of c minor in measures 160-163. The pitches of theme x, however, are identical - it is the preceding measures that make us hear them in the different key. This result is that the suggested minor of theme x in measures 9-12 is here made explicit.

The recapitulation proceeds with slight variations. The second theme, after appearing in the tonic in measure 199, is repeated in the dominant and moves towards the subdominant. This instigates the appearance of a new, very important theme, marked theme z. Theme z (m. 227) is based on the first measure of the piece, with one crucial exception. The opening whole step is here converted into a half step. Once again the dark half steps from the first movement are intruding on the music of the second movement. Theme z brings us to a statement of the closing music in Cb, a respelling of B (m. 235). And, as we have seen, the key of B, as bVI, is directly related to the half steps of the first movement’s theme b.

After the closing music brings us back to the tonic in measures 238-242, theme z interrupts one last time (m. 243). This time, however, it has been moved to the tonic minor. With the conflict of keys resolved, the scherzo can end solidly in the tonic.

The scherzo closes on the third measure of a four measure group, and the transition (m. 278) begins with the fourth measure of this group. In other words, the transition begins with a measure that is metrically an upbeat. It is essential for the violinist to be aware of this in order to properly communicate the correct feeling of strong and weak measures. Similarly, the entrance of the horn in the last measure of the transition functions as a measure long upbeat to the trio.

The structure of the trio is quite straightforward, but a few things are worth mentioning. The overall key is ab minor. Ab was used as a closing key area in the first movement, as IV often is. It will return with a similar function in the last two movements, serving to heighten closure and the confirmation of the tonic. Here in the scherzo, ab was the key of theme z. Like theme z, the trio uses the dark half steps from the first movement. Here they appear in the key areas. The B section of the trio (mm. 311-326) contains sequences that move up by half steps from Ab until they reach our familiar key of Cb (B). A descent through the circle of fifths brings us to an augmented sixth chord (m. 324) that, reinterpreted, takes us back to ab. A closing exploration of iv (mm. 342-346) is followed by a modulation back to Eb, and a written out ritardando in the left hand of the piano leads us to the da capo.

The theme of the trio is strikingly similar to theme 1 of the scherzo. The following observations are true for both themes, and show their common structure. There are three statements of a four measure idea. The idea is one that attempts to push upward, only to fall back down. The second statement of the idea is up a step from the first, and the third statement succeeds in pushing up to a climax, after which it sinks back down.

Let us now look at the music in less formal, theoretical terms. It is essential to keep in mind that scherzo means "joke," and that the joke has to do with play, and not necessarily humor. In the Horn Trio, as in many scherzi, the "joke" is about stark contrasts.

The first example of such contrast is the entrance of theme A in measure 13, whose duples interrupt the momentum of theme 1. The brakes have been applied, and the performers must strongly feel the weight of the duples. It is common, and to my mind appropriate, to pull back a bit in the cadence before theme 1 resumes. This serves to heighten the contrast between the two themes: between the perpetual motion of theme 1 and the stodgy grandeur of theme A.

The next moment of great contrast comes in measure 41. After sixteen measures of intense, dark, minor music that reminds us of the half steps from the first movement, we arrive at a huge cadence. The bridge that ensues is of completely different character. Suddenly everything is quiet, transparent, and, most importantly, suspended. For the first time in the movement the same harmony is held for eight measures. The harmonic progression stops, and we have a moment to catch our breath. This feeling is helped if the horn and violin play their three note motives lightly and without too much shape, really feeling the suspension of the third quarter note into the next measure. The pianist, too, must feel this stoppage of time, moving his/her phrases to the third quarter, and not away from the first quarter. In measure 47, the motion of the music begins to return with a luxuriant hemiola, and time can be taken here. This is a truly gorgeous pair of measures, so enjoy them.

The feeling of suspension continues somewhat into the second theme (m. 49). To my mind, there is an element of mock lyricism to this music, and the musicians can emphasize this, playing with extra sentimentality. Not only is this appropriate to the music, but it helps heighten the contrast with the closing theme.

The closing theme (m. 61) brings to my mind an image of Brahms having had one too many steins at the beer hall and breaking into his favorite drinking song. Brahms grew up playing piano in a local pub/brothel, so perhaps this image is not too inappropriate. This is jolly music, so let it swing.

Theme 1 takes on some new characters in the development. In measure 81 it appears in thirds over a galloping rhythm in the piano. It is here a sneaky, excited music. It is essential that the musicians keep a true piano throughout, not swelling until it is indicated. Otherwise, they will lose the hushed quality that is essential to its character.

We have already discussed the sense of exploration that is necessary to this development, but it is important to note that almost all the music of the development is essentially playful. The statement of theme 1 in measure 81, the fragmentation of theme A beginning in measure 101, and the augmentation of theme 1 in measure 121, are all fun, light music. This development is not one of passionate soul-searching and examination: it is, rather, one of playful exploration. In measure 153, however, intensity begins to return, with the six measure group and minor mode that were mentioned previously.

The last theme that remains to be discussed in the scherzo is theme z (m. 227). This is the one theme that is in no way a joke. The dark half steps here are a painful reminder of the foreboding of the first movement. This music must be as intense and serious as is possible.

By keeping in mind the playfulness that abounds in the scherzo, the musicians further emphasize the largest contrast of the movement, the contrast between the scherzo and the trio. The trio is a lament, or perhaps a dark, sad lullaby. It certainly has an element of folk song to it. The sweet sadness of this music is in direct contrast to the scherzo, and the more the musicians can feel the pain, the better.

With these characters in mind, let us turn to issues of tempo. The scherzo must be quick enough to be playful rather than heavy. If it is too fast, however, the weight of the duples of theme A, as well as the stodginess of the closing music, will be lost. There is an ideal middle ground that allows the musicians to make the music weighty or light, as is appropriate.

The trio is marked "molto meno allegro," and this marking can easily lead performers to a tempo that is, to my mind, too slow. The music should remain in one, and can easily do this while still being "much less fast" than the scherzo. It is helpful for the pianist to think of his/her eighth notes as a response to the main pulse of the dotted half notes. If the music begins to feel less like a lament, and more like a dirge, it is too slow.

Let us now examine some of the ways that a performance on natural horn affects the second movement. The scherzo is notable for how extreme the difference is in the usage of stopped notes in the tonic versus other keys. While it is true that a move away from the tonic will generally necessitate more stopped tones in the horn, in this movement the differences are particularly marked.

In the exposition, the first theme group and bridge are almost entirely composed of open notes, with only five out of fifty four pitches stopped, or nine percent. The second theme group and closing music, on the other hand, have twelve out of thirty one notes stopped, or thirty nine percent.

As the music gets further from the tonic, the stopped color becomes increasingly prevalent. The statement of the first theme group in B (mm. 121-136), for example, has nineteen out of twenty six notes stopped, or seventy three percent.

With the return of the tonic at the end, Brahms again writes open notes almost exclusively. Of the last fifty one notes for the horn, only five, or ten percent, are stopped.

The result of these differences is a strong reinforcement of the key areas, and thereby, the form of the scherzo. In particular, the development section is strongly set off from the outer sections by a darker, more closed sound. A performance on natural horn, then, aides in the aural comprehension of the form of the movement. A performance on valve horn does not have this advantage, so performers must be especially aware of the key areas and formal structures in order to better communicate them to the audience.

The use of stopped tones in the closing music of the exposition (mm. 61-77) is worthy of notice. In this passage, the notes (written) Eb, C#, and A are stopped. The result is that open tones and stopped tones alternate throughout the theme, with few exceptions. This alternation can be used to add an extra element of humor and an extra swing to the music.

The molto meno allegro is one of the most difficult sections in the piece to play on natural horn, due to many quick alternations between completely closed and completely open tones. While a performance on valve horn is much easier, it loses the wonderful color of the stopped notes. The trio, in ab minor, has forty two out of eighty two notes stopped, or fifty one percent. This is the most extended passage in the movement with so many stopped tones. As a result, the difference in the characters of the scherzo and trio is strengthened. The beautiful, dark, soft color of the stopped tones is particularly appropriate here given the melancholic mood of the passage. A valve horn player can capture some of this by using a darker sound in the trio.

Let us close our discussion of natural horn performance with an interesting observation about the theme 1. This theme seems to have been written with natural horn in mind. The horn’s statement of the first half of theme 1 in the tonic (mm. 81-88) is entirely open with the exception of the two written F’s. This is just one small example of how the natural horn was essential to the very creation of the music.

Throughout the first two movements, half steps manifest themselves in many ways, always with a darkness to them. It remains for the third movement to reveal to us the source of this darkness, and let it have its say. We shall then better understand how the Horn Trio is intimately related to the death of Brahms’ mother.

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